Treatment of colored pictorial representations to simulate original oil paintings



Patented Feb. 23, 1954 TREATMENT OF COLORED PICTORIAL REP- RESENTATIONS TO SIMULATE ORIGINAL OIL PAINTINGS Dominick D. Razzano, Rego Park, N. Y.

No Drawing. Application January 24, 1951, Serial No. 207,667

3 Claims.

This invention relates generally to the treatment of colored pictorial representations such as colored pictures in magazines, newspapers and lithographing products whereby the representation is preserved, strengthened and made to simulate a canvas-textured and brush-stroke efiect of an original oil painting.

It is an object of the invention to apply known and conventional compositions in sequence to a pictorial representation such as a lithograph or other mechanically applied pictorial representation for purposes of both preserving and strengthening said representation and yielding a fresh and lively effect to simulate an original work of art. The process is applicable as well to colored photographs, but because of the sharp lines of definition, the result of treatment will not necessarily yield the brush-stroke effect of a painting. But the picture will be preserved and certainly will afford a unique appearance.

A further object of the invention resides in such treatment of pictorial representations to bring about a combined strengthing of the receiving medium for the representation, a preservation and enlivening effect of the representation, and an uneven surface effect and. accentuation of original brush-strokes dimly appearing on the specimen treated.

These and other objects are accomplished generally by the use of a series of selectable steps for obtaining desired effects.

The first operative step in accomplishing the ends of the invention resides in a fixing treatment by application of a suitable solution to both sides of the specimen in any known way such as by silk-screen, spray, dip, knife coat, roller-coat, brush etc. for purposes of fixing or sealing the colors in the picture and the picture material so that said colors will not flood, run, or smear during application of subsequent treatments. In this step of applying a color fixing compound, a conventional lacquer may be used and applied with a spray, or a water soluble fixing compound such as a transparent conventional sizing may be applicable with a brush. Among the lacquers, I obtain good results using a mixture of the following materials, in terms of 100 pounds:

After applying the color fixing compound to both sides of the picture specimen and permitting the applied coating to dry for an hour what I designate as the canvas texture compound is applied. This canvas texture compound is applied to the surface of the picture by" any conventional means such as silk. screen, spray, dip, knife-coat, roller-coat, brush, etcetera and is allowed to air dry for about a day. The coating used to eifect the canvas texture compound is made from known commercial items and provides a simulated canvas texture with some brush stroke effect. I have found that a phenolic resin with tung oil combined with an activator will bring out the effects desired, said coating usually consisting of a wrinkle varnish composition. For this purpose the following composition has served my purpose well, although other formulas may do the same thing:

Pounds Resin-modified phenol-formaldehyde resin 26.6 Tung oil (from Chinese tung nut) 53.2 High solvency naphtha 20.2

The oil and resin of the above canvas texture compound are heated together in a steel kettle at 400-500 F. for one-half-three-quarters of an hour. When cool, the high-solvency naphtha is added. It is to be noted and as hereinbefore stated that the canvas texture compound consisting of the above mentioned resin, tung oil and naphtha is mixed with a canvas texture activator such as a 4% solution of cobalt naphthenate and constitutes 5 of the canvas texture compound. In other words, in applying the canvas texture compound, a mixture of by volume of the resin oil and naphtha compound and 5% of the 4% solution of cobalt nap hthenate is applied.

After the canvas texture compound with the activator therein has dried hard and in order to obtain certain desirable efiects about of the dried film of the canvas texture compound and activator may be gently removed by sand-papering to convert a resultant possible glass-bead effect into a canvas texture and brush-stroke effect. I wish it understood, however, that this sandpapering may be omitted.

Whether sanded or otherwise, the treated picture after the canvas texture compound and activator have been applied is now irregularly laminated and to further give the treated specimen a dull, finished, and uniform canvas sheen, a non-gloss type of fiat varnish may be applied by any of the above mentioned methods. Flat varnish used herein for purposes of getting a dull uniform canvas-sheen and which I have found to be effective is a varnish of maleic ester,

gum rosimtoitlciaxoilildehydratedpastoit oil, tungt:

oil and solvents (mineral spirits 'suehas'kerosene). Into this is ground flattening agents such as zinc stearate, aluminum stearate and diatomaceous earth.

Optionally, an additional brush"strokef-simiw larity to follow the brush contours in the figures or objects of the painting may be accomplished.

by using a mixture of 70% of the flatvarn'ish em" ployed and 30% of zinc tungate ground-thereinand by applying this so-called brush stroke com pound with a brush. Finally and optionally, the

treated specimen may be reinforced to further simulate an oil painting by pasting a piece of canvas orduok on the back ofthe'picture. This will? givethe treatedsp'ecimem thethicknesss and' thedel'ing 'ofan oil painting;

It is understood that other conventiona1 mao givethe; effects hereinabove' described? may 'be substituted for those specifically" set f 011th Herein without departing from the scope" of th'e invention? It is alx'sc understoodthatthe invention is susceptible to-various modifications and changes which come within 'thespirit of-"the disclosure and t-li'e 'scope of'the appended claims:

l Iri-a--'-method' of -rendering and preserving a coliredfiepro'ductibn of a picture to simulate the original? the --steps-' of subjecting both" sides--01 the colored reproduction to a protective bleed proofing compound; then coating over the col-- ored side of said treated reproduction-witha" substantially transparent Wrinkle coating composition. and permitting; said, composition to. dry.

until a non-uniform and broken surface is effected to simulate a-canvas-texture-andoriginal brush strokes.

: substantially transparent wrinklecoating comt--= 4 2. In a method of rendering and preserving a coloredreproduct'ion of apicture't'orsimul'ate the orig'inalfthesteps of subjecting-both sides of the colored reproduction to a protective bleed-proofing compound, then coating over the colored side position and permitting said composition to 'dPyuntil a non-uniform and 'brok'e'n surface fected tosirnulate a canvas'-'texture',- applyingfiat varnish to give-the= picture a uniform se'mi dull finish up on drying and finallybrushing along the contours-of thesubject matter 'of'the picture with" afiat varnish-sothat upon drying a' brushi stroke=effect is produced;

DOMINIGK D)? RAZZ'ANOI References Cited: in the file "of. this patentz' UNITED STATESPATEN'IS Number Namev Date.

104,241 Winter June 14, 1870 1,538,351 Reierson s.. May/19,192 1,752,011 Latter Mars 25,: 1930 

